AS YOU LIKE IT and THE TWO NOBLE KINSMEN at the Globe - Back to the Bard...

Now is the winter of our discontent, made glorious summer, by this daughter of Terry... well, for now anyway.  Like a Duke in a Shakespeare play I have been in exile from The Globe in Southwark since 2016, after being subjected to the childish Theatre-In-Education-style productions under that victim-card-playing creature Emma Rice, the personification of all that is ghastly with dumbed-down British Director Theatre where all is surface and hollow.  Her leaving was trumpeted as sexism on the part of the Globe Board, when in fact other issues were more pressing... like, where did all the volunteer staff go?

But now we have the fine actress Michelle Terry as the Globe's new Artistic Director and the first two performances have been great fun... yes, they have the now mandatory non-traditional casting but they were both played with such brio that it could be forgiven, unlike Rice's infantile look-at-me look-at-me revisionism.

For me AS YOU LIKE IT is an ironical title as I have never seen a production that I have liked!  Some have been good in parts but none have seized my imagination and proved truly memorable unlike other Shakespeare plays.  Terry has started her season with AS YOU LIKE IT and HAMLET performed by a rep company of 12 and I must say the cast was an area that was problematical for me.

Jack Laskey was a very good Rosalind, playing up the ambiguities when she disguises herself as Ganymede, but her two main onstage partners were a bit of a worry.  They will no doubt say that the gender balance was maintained by Bettrys Jones playing Orlando - but what's the point when she made absolutely no impact in the role?  Something that is unanswered in gender-blind casting is: which would an actress rather play - Rosalind or Orlando?  Why take roles from actresses only to reassign them to male roles that they cannot bring to life? 

Laskey's other stage partner proved more problematical - deaf actress Nadia Nadarajah is playing Celia, and while dramatically it worked to illustrate Celia's own marginalization within her father's court, when one's understanding of any particular scene is compromised by the fact that Celia's lines are rendered silently, what is the point?  I had honestly never realized how many lines Celia had until they were silently spoken.  I am all for Nadarajah being given her chance to work but "The play's the thing" and surely any casting choice that deliberately hinders the understanding of that play should be questioned.  I must admit I have wondered now we are in the tipsy-tarty world of gender and ethnic blind casting, which brave theatre director will choose a white actor for OTHELLO?  Not this tide.

Meanwhile back in the forest of Arden... there were excellent performances from Colin Hurley as a loud and leering Touchstone and, in the performance of the evening, Pearce Quigley brought his louche and whacked-out charm to Jaques, for once his mournful and cynical interjections ringing totally true; there was even a really nice touch when he concluded "The seven ages of man" speech by suddenly bursting into tears.

There are other charming performances lurking in the invisible forest too: Tanika Yearwood made a real impression with some quality singing as Amiens and took to the skies as Hymen,  Helen Schlesinger did some neat slight-of-hand swapping from the kindly exiled Duke to the usurping Duke by simply turning her frock-coat inside out, Shubham Saraf was a memorable Oliver - not often said - and James Garnon, not an actor I usually like - had great fun as a stroppy and sluttish Audrey.  It goes without saying that I liked Michelle Terry's supporting turn as Adam, Orlando's old courtier - as soon as she spoke her lines you knew she was a real Shakespearean.

There are two directors credited for the production but I was vaguely annoyed at how the blocking of the scenes seem to have been worked out in the rehearsal room rather than the stage so The Globe's dodgy acoustics were not addressed and more often than not lines were not heard by them not being addressed to the whole audience: when you are battling noisy crowds outside, incongruous emergency sirens and aircraft noise above you need all the help you can get by simply taking in all the sides of the stage.

But despite my issues with it, I enjoyed it a lot!  The sheer joy of playing to that audience on that stage came through loud and clear and I felt some of the delight that I got from seeing productions at the Globe before the Bitter Rice years.

Four days later we were back to our new-found favourite seating - the back row of the first tier as it has an all-important back to the purgatorial benches - to see my first-ever production of THE TWO NOBLE KINSMEN, written circa 1613-14 which has the claim of being possibly the last play Shakespeare ever worked on, here in collaboration with John Fletcher, one of three dual plays, the others being HENRY VIII and the now-lost CARDENIO.

It has the distinct cut-and-shunt quality of a play that has been passed back and forth between two writers, each taking their favourite plotline in new directions before the tone shifts again and we are back on another plotline.  Singularly lacking in poetic flight, it gives you an idea of the plays which would have been quickly worked on and put on to feed the need for new plays in the new theatres of Jacobean London.

The rulers of Athens, Theseus and Hippolyta, declare war on the ruler of Thebes and vanquish the tyrant.  Theseus captures two of Thebes' finest fighters, the close friends Arcite and Palamon, and although he admires their courage and skills, he has to imprison them.  The two friends are happy they are together and do not fear imprisonment as long as they are together.  However this sworn devotion is broken when they both fall in love at first sight with the beautiful Athenian princes Emilia.

Arcite is released but is banished from Athens, he returns in disguise and after winning a wrestling match, becomes Emilia's bodyguard.  The jailer's daughter has fallen in love with Palamon and she releases him from his cell; he escapes into the Athenian woods with the lovesick daughter in pursuit but he ignores her which drives her mad.  Her madness however does not stop her joining in an exuberant Morris dance for Theseus and Hippolyta.

Palamon and Arcite meet again and despite the latter providing his friend with food and arms, they fight again. They are interrupted when the court discover them and Theseus demands them both executed.  However after Hippolyta and Emilia plea for mercy, he ordains that the friends fight in a public tournament with the winner marrying Emelia, the loser to be put to death.  Who will win the challenge, and who will ultimately win Emelia?

It has odd echoes of A MIDSUMMER NIGHT'S DREAM with lovers pursuing the unloving into the Athenian woods, a group of Athenian citizens rehearsing in the forest and the characters of Theseus and Hippolyta, while the jailer's daughter lovesick derangement reminds you of Ophelia in HAMLET - it feels like Shakespeare thinking "Oh I'll just chuck in one of my greatest hits..."  It is such a disjointed tale that I would think twice about seeing a straight version of it.

But here we have Barrie Rutter directing it, his first production since standing down from being Artistic Director of Northern Broadsides, the company he set up in 1992, and he gives us a rollicking, colourful, big-hearted version of the play which is totally winning.  He keeps the action moving around the Globe's stage and never lets the pace drop until the inevitable final jig.

He elicits unshowy, committed performances from his band of merrie players: Bryan Dick and Paul Stocker are good as the former friends, Francesca Mills is a delight as the jailer's daughter and there is fine support from Moyo Akandé as a Gorbals Hippolyta, Jude Akiwudike as Theseus and Jos Vantyler as the teacher leading the Morris dancers.  Ex-KINKY BOOTS star Matt Henry plays Theseus' right-hand man Pirithous so slightly that one suspects his MBE for services to theatre might have been bestowed somewhat prematurely, while Elloria Torchia's lightweight Emelia made you wonder what our Two Noble Kinsmen saw in her.

But these two quibbles aside, I thought Barrie Rutter - one of my original GUYS AND DOLLS heroes from the National Theatre in 1982 - triumphed with this production and shows that he has just the right populist touch needed for The Globe.  I hope it's not too long before he is back there.

So two productions in and I am won over to the Globe under Michelle Terry's leadership - we have HAMLET, LOVE'S LABOURS LOST (at the pretty but agonizingly painful-seated Sam Wanamaker Playhouse), and OTHELLO to go so I will keep you updated on the progress through the season.

As Michelle Terry quotes from HAMLET in her introduction to the season "Come, let's go together..."